Spent yesterday getting it wired up to my setup, hopefully I'll get some time putting it through it's paces over the coming week.

I've got quite an unusual setup having two separate Edirol UA-1000 USB interfaces - I was previously using these synced together due to the limited number of mic-pres (I need 7 or 8 pres for drums), but with the 4-710d I now only need 2 stock pres from the interfaces which simplifies things - I can now record my normal drum setup through a single interface, so I hope to set each interface up to use the different master converter:-

What I'm hoping to do is conduct some tests and put some samples up from various options:-

If anyone has any requests from the above setup let me know - there are many different variations I can do. For my own comparisons, I will record a couple of tracks through the A2D /Master clock as a reference, as it's what i've been used to for the past year, then I can try a few different setups to compare.

E.g.

Reference - A2D Accoustic guitar, Drum o/heads, kick/snare

4-710d converters - same as above but A2D fed through the 4-710d converters

4-710d tube/solid state samples (full trans/full valve/ 50:50)

4-170d comp / no comp / fast slow

4-710d clocked to the A2D/Edirol

Edirol stock-converters/ internal clock (just as a 'prosumer' piece reference, though i've been very happy with this piece)

I'll be carrying out pretty exhaustive tests - I want to know how to get the most out of my new setup, so having some input from fellow slutz should help, especially generating samples.

BTW, I've got a patch-bay setup, so for a large amount of these tests I will be able to mult things to try and take the performance out of the equation as much as possible, however I'm not sure about impedance impact from multing (half-normalled outputs on all the pre-s to allow simultaneous recording) - if anyone wants to chip in on whether half-normalling is a good idea or not, feel free.

I would very much appreciate to hear kick & snare through the A2D and the 4-710, each using it's own conversion. Use whatever settings to get the best sound from each unit. On the 4-710, maybe 2 channels of no comp, and 2 channels of slow comp. I wouldn't mind different takes. Thanks!!

Finally got some time with the 4-710D late last week. Sounds great on electric guitar tracks! The compressors are a nice addition to this piece and sound quite nice despite the limited control! The preamp input gain adjustment is essentially the input adjustment of the compressor - like that of an 1176LN (if you want to think of it as that). Once you hit the fixed threshold, it starts compressing. Need less compression? Then back off the input.

As expected from a UA piece, the converters sound fine. But if someone is used to an Aurora or a Rosetta, then you'll want your Aurora or Rosetta. Seriously... do people actually expect the A/D converters of a good sounding 4-channel preamp with 4-channels of good sounding compression, all contained in a package for under $2000 to sound like a converter that costs $2000?

IMHO, the converters are neither THE reason to buy the 4-710D or to not buy the 4-710D. They do the job and do it just fine. They don't sound like the 2192 and won't - the 2192 utilized hefty transformer technology to create the smooth and gutsy, tape-like sound. Want that sound now? Get a Burl B2 Bomber or the B80 Mothership (wow!). I think that we should just be happy that the converters are included, give us AES/EBU, S/MUX - ADAT, Wordclock I/O and four more channels of A/D conversion. The converters sound fine and will make many a project studio owner quite happy... at least until they get a Lynx Aurora, Mytek 8x192, Lavry Blue, or Burl.

Thanks for the reviews so far on this, guys. I have been interested in this unit. I was wondering if anyone tried using an external pre into the line input in order to use the compressor section of the 4-710 without the 710 pre's. If so, your impression of the sound. Does it sound like the 1176? Thanks...

Seriously... do people actually expect the A/D converters of a good sounding 4-channel preamp with 4-channels of good sounding compression, all contained in a package for under $2000 to sound like a converter that costs $2000?

yes you are right! but how does it compare to let's say a presonus interface a/d or another similar audio interface?

Though I don't have an 1176LN (Urei or UA) directly on hand at the moment to make direct comparisons, I definitely think that they are on the mark with "1176-style" as the description. Sonically, it's right in line with the sound of a new UA 1176LN (hasn't had time to age). So, it's fairly polite and doesn't have the angry growl of a much older UREI. However, I think that it doesn't quite have the "size" or overall elegance of the new 1176LN. So, it's not like they're going to put the 1176LN out of business. However, for project studios these are great tracking tools. Perfect for getting a little compression in on the front to help it sit nice in the track right off the bat - all with that 3D sound of real compression vs math compression.

UA 4-71D converters vs. a Presonus? Well, I think that Presonus offers a TON of sound for the money. I still own a Presonus Digimax FS that I run with a BLA Signature Mod 002r. It's getting clock from the 002r and it certainly sounds acceptable. That said, I tracked using the clock of the 4-710D and didn't hear anything that made me think that I was missing out from even plugging in to my BLA Sig 002r. Granted, that hasn't taken place yet. This was pretty much a quick session. So, I didn't have the time to get into clinical trials. I'll spare you any more hunches until I have more concrete evidence/comparisons.

received my UA 4-710D on the 24th, but didn't get to set it up until yesterday....

i had one problem: tons of jitter / pops / clicks

i was using the word clock on my Focusrite Saffire 56 > 4-710D > Presonus Digimax LT and the UA box didn't like that at all. in order to make it work i had to slave everything to the UA box and it's working fine now. it doesn't really matter to me one way or the other, but you would think that it could work either way.

that said, i've only had a chance to record vocals, but i could definitely hear a smoothness that some of my other pres lacked. with the blend at 10 o'clock, the comp set to fast and the limiter on... the vocals sounded great... i cranked the gain a little bit during a more aggressive section and it added some nice grit.

i still have much experimenting to do, but so far i'm happy. i'll be running my FMR RNP through the converters on this box, so we'll see if it's better or the same as my old Digi 002r.

I am definitely considering this piece of gear for my home project studio. I record local musicians and currently use a Digi 003 rack and this would be an upgrade from what I've heard. Pair it with PT9 and I think I'm ready for 2011

do people actually expect the A/D converters of a good sounding 4-channel preamp with 4-channels of good sounding compression, all contained in a package for under $2000 to sound like a converter that costs $2000?

I think a reasonable point of comparison would be the Focusrite ISA 428 with the A/D card. Both units are similar in concept and *close* in price. The ISA has 4 decent pres and the extra 4 inputs for straight conversion, like the 4-710d. In my humble opinion, the conversion and clocking in the ISA holds up extremely well to the Rosetta 800 and the Digidesign 192s. That said, I'd prefer the flexibility and features of the UA unit... I'm just wondering if there's a trade-off somewhere.

Gain was increased a bit to get the compressor working - about 3-5db of gain reduction on fast, a bit less on slow.

Kick mic is a nice new Heil PR-48, and the snare mic is Audix I5.

NB - My room isn't the best, and neither is my drumming (i'm a gutarist after all ) so the clips aren't going to be the best, but when compared to the stock Edirol pres+converters there should be enough here to show some of the 4-710d's characteristics - there is certainly lots for me to digest in terms of how to get the most out of the setup.

I think a reasonable point of comparison would be the Focusrite ISA 428 with the A/D card. Both units are similar in concept and *close* in price. The ISA has 4 decent pres and the extra 4 inputs for straight conversion, like the 4-710d. In my humble opinion, the conversion and clocking in the ISA holds up extremely well to the Rosetta 800 and the Digidesign 192s. That said, I'd prefer the flexibility and features of the UA unit... I'm just wondering if there's a trade-off somewhere.

I agree. I've acquired an ISA 428 with the A/D card for this comparison. Will have files to share in the next couple of days. Will try to throw in some other converters too for reference.

I'm thinking of picking one of these up to process line level signals while mixing. One of the things I really enjoy is to crank signals to the point of distortion through different pres. The idea of a continuously variable blend between solid state and tube sounds like there would be a whole range of different distortion characteristics available in this box. Can anyone comment on the amount of gain available? Is it enough to distort signals that are put through it?

I'm thinking of picking one of these up to process line level signals while mixing. One of the things I really enjoy is to crank signals to the point of distortion through different pres. The idea of a continuously variable blend between solid state and tube sounds like there would be a whole range of different distortion characteristics available in this box. Can anyone comment on the amount of gain available? Is it enough to distort signals that are put through it?

Believe me if you are looking for dirt, there is plenty of it in this box, the gain/level (and blendable tube/trans)controls plus comp and soft limiter give plenty of scope.

I never really pushed it massively in my samples above (theres two clips that are quite distorted but nowhere near pushing it to excess), but I might try to go all out tomorrow. Anything you are interested in being distorted - drums, guitars, bass etc?